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3rd Year Outlines 2016/7


TUESDAY 1400-1600 G55

  1. Written dissertation: 10,000 words (100%) OR
  2. Practice-based dissertation: practical component (60%, group mark) + 4,000-word or equivalent critical review (40%, individual mark)

The Independent Research Option is a compulsory module for third year single honours Theatre and Performance Studies (TPS) students. Joint honours TPS students are not required to take this module but can apply to do so as long as 1) they are not doing a similar research-based module in their home department and 2) their chosen research topic is clearly relevant to TPS. Anyone taking the module must be supervised by a member of TPS academic staff and joint students should be aware that, with this module being compulsory for single honours TPS students, the number of optional places available is limited.

The module offers students two routes towards undertaking a substantial piece of supervised research during the course of the third year. These routes are convened separately so as to take into account methodological differences in each instance, but there are also some shared aspects in the programming and running of the module as a whole.

The two basic routes are:

1. Written dissertation, convened by Jim Davis. This route enables students to complete an individually written dissertation of 10,000 words on a research topic of their choice and based on their investigation of primary and secondary sources. Each student taking this route is allocated a single supervisor and the topic must be one that can be appropriately supervised by a member of staff in the Department. The written dissertation must be based on clear historiographical, dramaturgical, and/or theoretical/conceptual principles. It should make apparent the context of the research, the research methodology involved and the research questions it is posing. Under certain circumstances and subject to negotiation the dissertation can include practice-based work undertaken as part of the research process in areas such as curatorial work (including recording what has happened in the past or organizing an exhibition), historical performance reconstruction or applied practical work (for instance, a series of workshops in the community or in educational contexts). For additional information, see the Research Handbook on the current 3rd year module page.

2. Practice-based dissertation, convened by Susan Haedicke. This route enables students to use forms of practice as the primary research methodology. The practical work can take several forms, including (but not limited to) live performance, performance installations, site-specific performance, video work, multi-media work, the writing of plays, curatorial work (including recording what has happened in the past or organizing an exhibition), historical performance reconstruction, space and/or costume design, organizing and running participatory workshops, and video documentaries. For the practice-based project, students will usually work in groups of between two and five members, though it is feasible under some circumstances to undertake a solo project. Each group following this route is allocated a single supervisor and the nature of the work must be such that it can be appropriately supervised by a member of staff in the department. Practical processes must be informed by clear research imperatives and based on theoretical/conceptual principles. Projects should make apparent the context of the research, the research methodologies involved and the research questions being posed.

Spring and Summer Term 2016 Procedure

All 2nd year students should begin giving serious consideration to the 3rd year Research Option as of the meeting convened in Week 8 of the Spring Term. Students who wish to work practically are advised to think carefully about forming working groups and agreeing on a practice-based project that will sustain the interest of its members. If possible, students should make preliminary decisions and commitments in this regard before the Easter vacation commences.

All 2nd year students are required to submit a fairly detailed research proposal form by Friday of Week 2 of the Summer Term (6th May). The link to this form is available on the home page of the Department’s website under 3rd Year Independent Research Option 2016-17. Practice-based groups need submit only ONE such form per collaborative project. On the basis of this form the Department will decide whether the proposed research is viable and whether appropriate supervision can be offered, whether the proposal needs to be revised, or whether a new topic needs to be proposed. Individual students and groups are asked to consult members of staff who they think may have expertise in the area prior to submitting proposals and to name those tutors on their forms. These consultations can take place in the final weeks of spring term or the first week of summer term. Students are encouraged to set up an appointment with the tutor by email. The tutor consulted may also turn out to be a viable supervisor, but there is no guarantee of this since supervisions need to be distributed equally amongst staff.

Supervisors will be assigned to dissertation students and performance project groups in the Summer Term of the 2nd year and an initial meeting will take place to discuss the proposal in more detail and to plan strategies for preparatory research to occur over the summer vacation.



THURSDAY 1000-1300 G56

20% Portfolio (2 x 1000 words)
30% Essay (3000 words)
50% Project-based assessment

The module analyses ways in which performance engages with, reveals, challenges, deconstructs and resists dominant norms of gender and sexuality. A key focus will be on how performances rreflect and contribute to shifts in circulating discourses of power. Starting with the traditionally 'umarked' dominance of white heterosexual men, students will engage with a wide range of plays, practitioners amd performance artists in order to interrogate notions of the 'other' as performances of gender and sexual identities. The module will look at theoretical framework of gender and sexuality, at the same time exploring the intersections with other elements of performance of identity such as social class and ethnicity.

This module will engage with a number of examples from a range of performance practices to examine the roles that such performances have played in contribution to debates and discourses around gender and sexuality. Examples will be drawn from performance art, performance poetry, plays, radio drama and stand-up comedy to allow the students to engage in analytical debate. Each weekly two-hour seminar will focus on a particular example of performance and explore its own particular contribution to gender and sexuality discourses. In each case the performance material will be framed by sets of weekly theoretical, cultural and historical readings in order to properly contextualise the work.

Plays looked at may include: Glengarry Glen Ross (Mamet); Frozen (Lavery); Far Away (Churchill); Black Watch (Burke); Duck (Feehily); The History Boys (Bennett); Belle Reprieve (Bourne, Shaw, Shaw, Weaver); Airsick (Frost)Phaedra's Love (Kane); Behzti, (Bhatti). Other performers and performances examined at may include Franko B, Ron Athey, Orlan, Marina Abramovic, DV8's Enter Achilles, Mickey B, material from the Theatre of Witness Programme, and Paris is Burning. Other documentary material will include Invisible Women and Miss Representation, both about gender imbalance in the media.



WEDNESDAY 1100-1300 G56

25% Essay (2500 words)
25% Seminar Presentation
50% Written Assignment 5000 words

This module will provide an overview of the theory and practice of strategic marketing and audience development for theatre, with a special emphasis on practical application. Over the course of module we will look at general marketing theory, the special challenges of marketing creative products and the use of market intelligence and data. We will also look at different organisational approaches to being audience focused, and associated implications for programming, resource management, internal communications and organisational structures. Other specific areas to be covered will include marketing events on tour, festival marketing, using social media and audience research.

The taught section of the module focuses on general marketing theory as it applies to arts organisations, specifically theatres and theatre companies. We will start by looking at the role of marketing in arts organisations, moving on to marketing as a strategic management tool. Later we will move onto the tactical marketing tools in common use in arts organisations, including social media. At the end of the course we will cover the role of the marketer and how contracting effects marketing activity and planning. The last two taught sessions will include case studies and sample marketing plans (both strategic and campaign), in preparation for the project that students will undertake from February.

After the taught portion of the course, students will be required to work on a specific project within an existing arts organisation, using them as a case study for an audience-focused or marketing project. This will be assessed against specific criteria and will be shared with the organisation with a view to it being of practical use to them. A written assignment of the project will comprise 50% of the overall mark.



TUESDAY 1130-1330 G55

35% = Portfolio of 4 x 750 word assignments
30% = Seminar Presentation
35% = Practical Exam

From necessity to pleasure, from subsistence to security, food is a constant in our lives, commandeering significant portions of our waking lives – gathering, preparing, ingesting, digesting, excreting - and annexing one-third of the planet’s land not covered in ice. We define ourselves by the food we eat, both physically (as Morgan Spurlock, Eleanor Antin and others attest) and culturally.

Commensality – the fellowship of the table – shares with performance the coming together of individuals to form a temporary group that consume and then depart. The negotiated status of performer and audience finds resonance with that between hosts and guests and an opportunity to reaffirm or challenge the rituals and etiquette by which they operate.

The tensions between creativity and domesticity, between adulation and exploitation are explored in relation to performances that acknowledge the breadth of circumstances in which we engage with food, culminating in an extended consideration of the theatricality of dining. Alongside reflection on the social and aesthetic aspects of food, the ethical and ecological cost of feeding and feasting is explored.



FRIDAY 1100-1300 G56

One 2000-word essay – 20% (autumn)
One 2000-word written portfolio – 20% (spring)
One 6000-word (or equivalent) project-based assessment – 60% (summer)

This module’s overarching question is how English, Scottish, Welsh and Northern Irish theatre institutions, playwrights, theatre-makers and performance artists have engaged with conceptions of the nation, nationalism and national identity during the twentieth and into the twenty-first centuries. The module will explore how theatre has contributed to the construction and reappraisal of the nation and national identities through the sites it occupies, the stories it tells and the representations it offers. In particular, this module will explore the fact that ideas of the nation are constantly in flux, subject to the play of history and politics, and that the way theatre engages with the nation changes according to different geographical, political, economic, social and cultural circumstances. The module will begin by introducing key theories on the nation and national identity before looking at plays and performances hailed as seminal ‘state of the nation’ works or celebrated as offering a distinct national identity by reclaiming histories, local dialects and indigenous cultural traditions. This will be followed by a consideration of plays and performances that renegotiate concepts of nation in various ways. In the late twentieth and early twenty-first centuries, there is increasing evidence of theatre and performance challenging the very idea of the homogenous nation state by asking important questions such as: who is being excluded, in class, race, gender and regional terms, from the depictions of national identity offered? How can work that explores concepts of national identity also be alert to the importance of difference and plurality? How can we theatricalize the nation in an age of globalization, mass migration and mediatisation? The module will consider these questions in relation to a range of performance forms: plays, devised works, site-specific performance, live art and performance installations.

Playwrights, companies and performance practitioners discussed may include: Tinderbox, Brith Gof, John Osborne, John McGrath, Roy Williams, Dylan Thomas, NTS, Ena Lamont Stewart, Robert McLeish, Gary Owen, Mike Pearson, Richard Bean, Sue Glover, NTW, Liz Lochhead, Ed Thomas, Stephen Greenhorn, David Greig and Volcano Theatre Company.



MONDAY 1300-1500 G56

Portfolio (750 words) based on Weeks 2 – 4 (Term 1) 10%
Portfolio (1000 words) based on Weeks 1 - 4 (Term 2) 10%
(These should consist of a short summary of the work you prepared for discussion in the seminars for the weeks specified)
Research Project: Local Theatre Histories 30%
(This may take the form of a booklet, a website, a report, an illustrated brochure a teaching aid or an essay, for example. Due beginning of Spring term)
Examination: Group or Solo Project Presentations (Summer Term) 50%

In recent years there has been a growing interest in the ways in which we study theatre history. Why do we privilege some periods over others? Why are some aspects of theatre history neglected by scholars? What are the assumptions behind our interpretation of documentary evidence? What choices do we make about the theoretical models we use? How did theatre history emerge as an academic discipline? What sorts of narrative inform our study of theatre history? What factors determine the ways in which we write about theatre history? This module aims to investigate the ways in which the historical study of acting, audiences, theatres and performance are heavily influenced by the assumptions, prejudices and ideological beliefs of those who have written about it. A strong emphasis will be placed on the close reading of set texts and on innovative project work applying historiographical methods and methodologies.

(You may take any aspect of theatre history that interests you and prepare a presentation on it, demonstrating also a grasp of historiographic principles and methods. This might be an exhibition, a performance or a performance lecture, for example. Groups should be @2-4 and each group will be assigned @30 minutes for their presentation. A critical review of 2,500 words, in which you analyse the processes, methodologies and research leading up to your presentations and provide documents, pictures etc in support of your work, plus some discussion of the impact made by your presentation, will be required two weeks after the presentations. )



WEDNESDAY 1100-1300 G55

10 % Workshop/ Presentation
20% Essay (3000 words)
20% Critical response
50% Performance Exam (Final Project)

This module explores the experience of exile in the 20th and 21st century as rendered in drama, performance, film, and critical theory from the most recent refugee crisis to historical exilic experiences and the notion of internal exile. It asks:\ • How is today’s world shaped through the experience of exile and how do artistic and cultural responses further illuminate and problematize exilic issues?

• How does refugee crisis and other forms of migration and displacement force us to rethink categories such as own and foreign, hospitality, citizenship rights, identity and belonging?

• How is exilic experience embodied through various dramaturgical forms in film and theatre and through performance?

• What is the relationship between aesthetics and agency? What are the ethical implications of representing exilic experience?

• How is exilic experience manifested through dramaturgy of language, body and space?

• In the context of exile, how do performance and other artistic practices enable the possibility of turning the trauma of displacement into a creative force?

We will examine a range of plays, films, performance works, and relevant critical theory to tackle these questions in a variety of modes both in the classroom sessions and through varied forms of assessment. These modes include:

• in depth reading, analysis and discussions of case studies and critical texts

• workshop strategies (i.e. debate groups, usage of images and objects as stimulus, mind-maps)

• usage of performance practices and devices as a means of understanding and reflecting upon concepts and issues arising from the given material

Illustrative works to be studied include: plays T. Wertenbaker's Credible Witness, D. Edgar's Testing the Echo, Kathleen Mccreery's The Chambermaids, H.Pinter's Mountain Language, G.Verdecchia's Fronteras Americana, J. Glowacki's Hunting Cockroaches, C. Hampton's Tales from Hollywood , David Greig's Europe, Zinnie Harris's How to Hold Your Breath; films Dirty Pretty Things (S. Frears), La Hain (M.Kassowicz), Crusero/ Crossroads (Verdecchia/ Puerta); documentaries Do You Speak English?, Sierra Leone Refugees All Stars; performances work by Christoph Schlingensief, Natasha Davis, Ice &Fier company, Daniela Kostova, Krystof Wodicczko



MONDAY 1530-1730 G56

Essay #1 20% (Autumn term)

Essay #2 20% (Spring term)
Research assignment/presentation 10%
Written Exam 3 hours 50% (Summer term; TBA)

The module set out to explore a broad constellation of recent European plays, performances, and films originating from different parts of Europe, which address the changing historical, political and cultural realities of Europe in the wake of the Iron Curtain’s collapse and the fall of communism in 1989. Specifically, the module aims to engage with the following pressing issues and concerns: How does theatre articulate Europe’s new sociocultural space, shaped and negotiated by the experiences of war, exile and the shifting contours of Europe’s borders and territories? How do European artists witness and respond to the current refugee crisis and stories of fraught Mediterranean crossings as migration becomes the defining issue of this century? How does performance address the complex issues of right-wing nationalism, the ongoing financial crisis, and social justice now that the EU faces the biggest crisis since its foundation? What are the ways in which performance takes part in the current debates in Europe concerning secularism, the rise of religious extremism, and fears about national security in the aftermath of the events such as the London bombings and the Paris attacks? How does theatre engage with the traumatic experiences of the Holocaust, the Stalinist Gulags, colonialism and imperialism, and current preoccupations with the politics of memory in Europe? We shall also explore aspects of European cultural policy, cosmopolitan stages of European theatre festivals as well as some popular expressions of “Europeannes” such as the Eurovision Song Contest as a site where cultural struggles over the meaning, frontiers, and limits of Europe are enacted.

By the end of the module students should be able to demonstrate a critical understanding of contemporary European theatrical practice in the light of cultural, political, historical, and philosophical issues across Europe in both historical and contemporary context, by way of making use of interpretative frameworks introduced or extended in the module. They should also be able to demonstrate an enlarged appreciation of the distinctiveness of European cultural contexts but also areas of commonality, as well as current political challenges facing Europe internationally. Furthermore, students should come away from this seminar with a new set of conceptual models and analytic tools to make use of in thinking about this complex and rich body of art.

Students will achieve these learning outcomes through close reading of primary and secondary material, seminar discussions based around prescribed texts and seminar papers on specific topics. In addition to film screening, performance recordings will be used to illustrate the theatrical dimensions of the plays. Weekly preparation prior to each seminar, based on set readings, will be crucial.



AUTUMN: THURSDAY 1400-1700 G52

15 CAT 5000 word essay (100%)

This module the relationship between identity and performance through a variety of artistic forms. This module will combine seminar discussion and studio practice. You, Me, Everyone will examine a range of practices from biographical drama to live art to stand up comedy in order to interrogate questions of selfhood, otherness, and identity. The module synthesises critical discourse with practical experimentation in order to better understand how and why we represent ourselves and others. Moreover, we will question what it means to have a 'self' to represent. We will examine questions of truth, authenticty, alterity, ethics, and antitheatricality. The module explore key examples from different modes of performance (both practically and theoretically). Throughout the course of the module we will not only investigate how and why people have sough to represent 'true' lives but consider the role of performance within the our everyday identities. The module, thus, aims to offer an engaging and challenging introduction to the politics of identity and performance.

Your assessment is a 5000 word essay. You will write your own essay title in dialogue with the module tutor.




40% Portfolio (2x1000 words)
60% Essay 3000 words

This module examines the following:
How ‘Irishness’ was depicted in a range of plays and performances in the 20th Century
• How the staging of Irish plays are affected by concepts such as landscape, memory, history and myth
• How the Irish theatre reflected the formation of an Irish nation and was used to both rehearse and critique Ireland after the English
• How Irish playwrights have used major historical events to reflect on contemporary events
• How Irish plays and performances have engaged with the wider international world
Beginning at the beginning of the 20th Century with the foundation of the Abbey Theatre, the module looks at how nationhood was rehearsed, imagined and critiqued through a range of plays by playwrights such as Yeats, Synge, O’Casey, Murphy, Friel, McGuiness, Carr, Reid and Mitchell. Working from Christopher Murray’s idea of Irish Theatre as being ‘mirror up to nation’ and Benedict Anderson’s concept of ‘Imagined Community’, the module traces the relationship between the Irish stage and the ever-changing Irish socio-political landscape.



AUTUMN TUESDAY 1000-1300 G55

Project-based assessment 1 50%
· Group performance

Project-based assessment 2 50%
· Artistic Dossier (e-submission)

How do we transform non-dramatic materials into a live performance? Adaptation for Performance is a practice-based module that uses a hands-on approach to understanding the adaptation process. We will discuss case studies of play texts and live and multi-media performances adapted from literary texts. Using these case studies as models, students (in groups) will create and perform an adaptation of their own from literary sources. These performances will be presented in an extended class period or evening session during term time. In addition, each student will create an Artistic Dossier (also sometimes called Promotional Packet or Tour Pack) for a full-scale production adaptation using descriptions, models, images, performance, etc.




Practice-based portfolio 40%
· Two to four image and/or word-based entries that represent forms of play analysis

Project-based assessment 60%
· Education packet for one play. It includes multiple sections, including play analysis as well as contextual and background research for the play. (e-submission)

In this practice-based module, we will focus on two key tasks of the dramaturg: detailed play analysis and background research that help theatre practitioners answer questions of form, content, action, character, theme and context. We will experience what a dramaturg does primarily through creative practice using writing, research, art, and imagination as we develop diagrammatic scene breakdowns, image boards, rhythm analyses, programme essays, and study guides, and explore background research presented in written text, images, music, and more. We will interrogate the connection between the dramatic text and the live performance and will investigate different methods of performance analysis that can result in various possible interpretations and page-to-stage approaches. We will work on various dramaturgical techniques in and out of class that will receive oral feedback in class and are structured to be preparation for the practice-based portfolio entries.




50% - Project-based assessment
50% - Essay

What freedoms do we relinquish for the opportunity to participate in social networks online? How much of ourselves do we upload and what is the relationship between our online self and that which remains offline? What are the possibilities and dangers of virtual worlds? This module looks at the interventions of theatre practitioners and artists who consider these questions as well as interrogating posthuman and cyborg futures, culminating in small group projects that explore what it means to perform online. Topics considered include the cult of technology, flavours of reality, post-human futures, gaming and social media.



SPRING TUESDAY 1130-1400 G56

One 2000-word (or equivalent) project-based assessment (40%)
One 3000-word essay (60%)

This module will address the theatrical treatment of issues that have been at the heart of the British nation in the twenty-first century and subject to widespread public debate, media campaigns, political controversy and legislation: migration, Gypsies and Travellers, riots and the north/south divide. As such, the module will address many of the pressing issues that are informing contemporary political debate about how the nation, national life and national citizenship are currently conceived, imagined and represented. The module is concerned with questioning how and why playwrights, theatre-makers and performance companies have engaged with and responded to these issues as forms of political intervention and commentary. However, where appropriate, I am also keen to take a longer historical perspective in order to argue that many twenty-first century anxieties have their origins in an earlier post-war period and can be traced to legacies of empire, colonialism, post-war reconstruction and long-standing concerns with class, regionalism and race in Britain.

The module will highlight the ways in which theatrical practice has contributed to national debate by creating alternatives to dominant narratives and images of stigmatization evident in political campaigns, media discourse and popular debate. This approach functions in recognition of Jacques Rancière’s call to generate moments of dissensus in the perceptual and aesthetic field, ‘a fresh sphere of visibility’, which effectively serves to question the logics of othering, marginalization and social abjection. Hence, the module will explore how theatre and theatricality has played a part in reframing events through its storying of issues as a way to trouble reductive perceptual framing and to insert a counter-mediation in the public sphere. As such, the module will address a range of different theatrical contexts and forms from large-scale plays for major theatres, to smaller-scale community pieces that encompass various styles including musicals, dance theatre, verbatim and monologues.

Illustrative works to be studied include: John Arden’s Live Like Pigs (1958), Claire Bayley’s The Container (2007), Jez Butterworth’s Jerusalem (2011), Jim Cartwright’s Road (1986), Andrea Dunbar’s Rita, Sue and Bob too (1982), David Greig’s Glasgow Girls (2011), Trevor Griffith’s Oi for England (1982), Lee Hall’s The Pitmen Painters (2007), Bryony Lavery’s Goliath (1997), Anders Lustgarten’s Lampedusa (2014), Gillian Slovo’s The Riots (2011) and Alecky Blythe’s Little Revolution (2014).



SPRING FRIDAY 1400-1600 G56

Presentation: 15%
Essay: 35%
Performance Exam (Final project) 50%

Love remains an ever intriguing and complex emotion. Representations of love have been idealised, romanticised and formalised as part of theatre and performance tradition over centuries. In recent years love has also become visible (again) as a contested theoretical problem and political issue. The module addresses the “love question” as an open and exciting interdisciplinary field – one that traverses the arts, the humanities and the sciences. The module aims to explore this new, wide-ranging interest in love by looking into the ways in which the twentieth and twenty-first century artists have dealt with the subject of love as material for their work (e.g. Anski, Bergman, Pinter, Kane, Cavani, Haneke), while investigating a wide range of theories that explore changing ideologies, representations and practices related to the subject (Freud, Kristeva, Butler, Berlant and others). We will ask questions such as: What is love? Why/how is love interesting now? Can we study love historically? What does it mean about love that its expressions tend to be so conventional, so bound up in institutions like marriage and family, property relations, and stock phrases and plots? How can we re-envision love so that it creates different kinds of intimately social (rather than intimate vs. social) bonds that embrace difference (vs. sameness) and are transformative of the self? Finally, what does love bring to the study of theatre and performance? How do performances of love in theatre or cinema deconstruct or confirm its social and political coding? How do theatre and performance recreate and subvert social scenarios of love? The topics to be covered will range from ethics and politics of love, gendered interests in love, to love as a force in radical transformations of society.

By the end of the module students should be able to demonstrate a critical understanding of a broad constellation of contemporary plays, performances, and visual art references in the light of cultural, political, historical, and philosophical debates on the analysis, ethics and politics of love in the modern world. Furthermore, students should come away from this seminar with a new set of conceptual models and analytic tools to make use of in thinking about this complex and rich body of art. Students will achieve these learning outcomes through close reading of primary and secondary material, seminar discussions based around prescribed texts and seminar papers on specific topics. In addition to film screening, performance recordings will be used to illustrate the theatrical dimensions of the plays.



2nd Year

CLASS LISTS (late May)

Forms Deadline
4pm Friday Wk 2
(6th May 2016)

2nd Year Single Honours
2nd Year English & Theatre
2nd Year other Joint Students

3rd Year

CLASS LISTS (late May)

Forms Deadline
4pm Friday Wk 2
(6th May 2016)

3rd Year Single Honours
3rd Year English & Theatre
3rd Year other joint students

External Students

If you are not taking a Theatre Studies Single/Joint degree you can still apply for a selection of our modules. All students, including those from Film wishing to take Wired or AVAG should use the form below to see the modules we offer as External options (please note that places are limited and first choice is assigned to Theatre Single/Joint Honours Theatre students.

Form Deadline
4pm Friday Wk 2
(6th May 2016)

External Students Form

Visiting Students

This form is for those students who are joining us for 1 or more terms from overseas institutions. Please refer to the info on the other pages for details of the modules on offer and, should you have any queries please contact t dot white at warwick dot ac dot uk

Form Deadline
4pm Friday Wk 2
(6th May 2016)

Visiting Students Form

External Modules

If you wish to take modules in another department (single honours students can take up to 30 CATS per year externally) you should make contact with the department concerned and determine whether this is possible, whether the module clashes with others you have chosen in Theatre and also discuss suitability with your Personal Tutor. Please also see the list to the left showing suggested external modules.